Adam Rogers Discusses His Imminent Debut Release and More
AAJ: Can we look forward to you getting on the circuit a little more?
AR: That's my plan, I haven't done that much. I had those two great opportunities without even having a record out. I haven't really fully assaulted the idea of touring because I haven't had a record that's out and distributed.
AAJ: It must be tough for you..you have to weigh record dates and New York club dates against road work.
AR: I love touring and I love being home. It's a balance. I love being in different places and playing music. Hopefully I'll be doing more out-of-town dates with my own stuff as this and hopefully more records come out.
AAJ: How about the Uri Caine project you were on?
AR: I did a record Uri produced for a singer for Knitting Factory Works. I've played with Uri a lot, like on Binney's last record. Last May we went to Italy and performed concerts of Schumann music. We did a couple of concerts playing two consecutive opuses, one of which was performed by a string quartet and one of which was a song cycle that we played. Uri's recording of this music, which David Gilmore is on, has his arrangements of the song cycle. Live, we did the string quartet in traditional form and then Uri's take on it. We'd go back and forth onstage and we attempted to do it seamlessly. His versions ranged from straight ahead to bossa to country to gospel.
AAJ: You must be the ideal cat for that considering where your coming from.
AR: I loved doing it. Having a classical background, I feel I have some insight into it. I love playing classical music on its terms, not necessarily a take on it. One of the great challenges of classical is that you have these giants of composition throughout history and the music exists already, you are not creating it, so you, to some extent, have to go to it. Its demands on your technique and musicality are set by the music and you've got a history of guys who have already played it and played it incredibly..so it's such a challenge. You concentrate on sound, phrasing and interpretation. You're not focusing on improvisation so it becomes about a beautiful sound, a consistency of phrasing, a concept of phrasing, what you're going to do with the piece, what voices you're going to bring out and how you choose to phrase certain motifs.